REVIEW

The second album from Australian cinematic post-metal band Myriad Drone.

Originally launched in 2016 as a solo project by Shane Mulholland, Myriad Drone evolved into a full four-piece the following year. After two lineup changes following their debut, the current formation features Shane Mulholland (Gt/Vo), Jacob Petrossian (Gt), Simon Delmastro (Ba), and Frankie Demuru (Dr). Their 2019 debut “Arka Morgana” was ranked #5 on Where Post Rock Dwells’ Best Albums of 2019 list, and has since been widely cited as a standout within modern post-rock and adjacent scenes.

Arriving six years later, “A World Without Us” appears to frame itself around the notion of an apocalyptic or post-human world—an impression suggested by both its title and its cover art, which recalls the dystopian tone of the film The Pink Cloud. Sonically, the most notable evolution lies in Mulholland’s vocals. Clean vocals are pushed significantly further forward in the mix, while harsher screams are introduced more prominently, sharpening the contrast between fragile lyricism and visceral aggression. His clean delivery is particularly delicate and luminous, inviting comparisons to Jónsi (Sigur Rós) or Neige (Alcest), though the influence remains suggestive rather than explicit. The material also leans slightly closer to post-rock than before, adopting a more pastoral atmosphere that subtly echoes Alcest’s melodic sensibilities.

#1 “A World Without Us” opens with restraint before erupting into dense walls of sound and emotionally charged vocals. Its post-rock dynamic of quiet tension and explosive release is offset midway by a sudden shift into folk-tinged choral passages, moving toward an Alcest-like unison of vocals and melody. Despite its ten-minute runtime, the track establishes the album’s scope with ease.

#2 “Forlorn Hope” layers crushing guitars beneath ethereal clean vocals and feral screams, evoking something akin to a final, mythic confrontation. As the label has noted, the track balances post-rock and shoegaze elements while pushing toward a darker overall palette, making it one of the album’s most representative statements.

#3 “DYHAMTTAJ” unfolds as a grand, progressive piece, where intricate rhythmic shifts support soaring, almost sacred vocal lines.

#4 “Longing” highlights Mulholland’s clean vocals within an elegant post-rock framework, gradually building toward a cathartic crescendo of overwhelming distortion.

#5 “Disharmonia” veers into blackgaze territory, driven by blast beats and tremolo picking. Brief flashes of clean vocals introduce a glimmer of light before being swallowed by noise again, suggesting a struggle against inevitable collapse.

#6 “Whereabouts Unknown” begins with a TOOL-like odd-meter groove and a ritualistic, folk-inflected introduction. Tension accumulates steadily until it resolves in a majestic, choir-like climax. Developed from an initial drum pattern conceived by Frankie Demuru and expanded collectively by the new lineup, the track points toward new terrain for the band. While “TOOL meets shoegaze” remains a relatively rare convergence, it has begun to surface more frequently—and this may be one of its more compelling realizations to date.

The closing #7 “Valediction” withdraws into a subdued, quietly melancholic melody, allowing the album to fade out with a sense of stillness. That final calm suggests a world after humanity’s disappearance, reinforcing the album’s broader thematic arc. “A World Without Us” can be read as a kind of requiem for a vanishing species, and stands as one of the more accomplished post-rock / shoegaze-adjacent releases of the year. Fans of Sigur Rós, Alcest, or Holy Fawn will likely find much to appreciate here.

Previous review: Myriad Drone - Arka Morgana